SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

ive changed this piece from mozart's original. ive only cut it, and there are a few major errors; but please comment your opinion:.

published:08 Jul 2011

views:39178

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i believe i have come very close to perfecting the art of 18th century style and technique. please comment, share, like and subscribe to my channel. i have plenty more compositions to upload due to the fact ive only recently been able to upload scores to YouTube.

The marriage of Figaro, K. 492Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is a comic opera in four acts composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro. The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor, Joseph II, before any music was written by Mozart.
Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

The work premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna. This is one of Mozart's last works, written during his last year. Set in Egypt around the time of Ramesses I, this opera was adapted from a tale by Christoph Martin Wieland titled "Lulu, oder die Zauberflöte" ("Lulu, or the Magic Flute").

Composition

The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack (the first Tamino), and had contributed to the compositions of the troupe, which were often collaboratively written. Mozart's participation increased with his contributions to the 1790 collaborative opera Der Stein der Weisen (The Philosopher's Stone), including the duet ("Nun liebes Weibchen", K.625/592a) among other passages. Like The Magic Flute, Der Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles.

The Magic Flute (1975 film)

The Magic Flute (Swedish:Trollflöjten) is Ingmar Bergman's 1975 film version of Mozart's opera Die Zauberflöte. It was intended as a television production and was first shown on Swedish television on 1 January 1975, but was followed by a cinema release later that year. The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition. The film is notable as the first made-for-television film (and filmed in then-standard 1:1.33 television aspect ratio) with a stereo soundtrack.

Background

Bergman first saw the Mozart opera at the Royal Opera in Stockholm when he was 12 and hoped then to recreate it in his marionette theatre at home.The Magic Flute remained a love for him throughout his life, and at one stage he hoped to direct a production at the Malmö City Theater.

During the 1960s Magnus Enhörning, head of the Swedish Radio, asked Bergman for possible projects and the director replied "I want to do The Magic Flute for television". Enhörning readily agreed and supported the project without hesitation.

In November 2005, it was announced that, as part of the 250th anniversary celebration of Mozart's birthday, a new film version of The Magic Flute, set during World War I, was to be made, directed by Kenneth Branagh, with a translation by Stephen Fry. The film was presented at the Toronto International Film Festival on 7 September 2006, at the Venice Film Festival on 8 September of that year, and released in Switzerland on 5 April 2007. It has played in many European countries.

Composition

The concerto has a duration of 12 minutes and is composed in seven short connected sections, which Carter described in the program note as "presenting the many different facets of the horn, which are most remarkable and beautiful."

Reception

Reviewing the world premiere, Jeremy Eichler of The Boston Globe praised the concerto, writing:

Reviewing the United Kingdom premiere of the work (performed alongside Carter's Cello Concerto and Boston Concerto), Geoffrey Norris of The Daily Telegraph opined, "Both the Cello Concerto (with soloist Anssi Karttunen) and the Horn Concerto (Martin Owen) identified Carter's innate feel for instrumental timbre, his ability to tap, through his characteristic blend of complexity and clarity, the distinctive personality that an instrument possesses." Fiona Maddocks of The Guardian similarly remarked, "these late works confirmed a new brilliance and drama in Carter's musical voice."

Background

Polekh met Glière at the Bolshoi Theatre in 1950, during a break in a rehearsal of Glière's ballet The Bronze Horseman. During this brief encounter, Polekh suggested that Gliere write a concerto for the horn. Gliere promised he would work on a concerto in his free time. Polekh later met with Glière and demonstrated the capabilities of the horn to him; a year later, Glière finished writing the concerto.

The Horn Concerto is perhaps the best known of Glière's acclaimed works. The addition of valves in the early 19th century allowed composers a greater flexibility in their compositions, and the horn became a full range solo instrument. Many composers, valuing its large range and unique tone, incorporated it more prominently in their compositions.

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Rondo Alla Turca piano (Turkish March) Mozart- fast version

ive changed this piece from mozart's original. ive only cut it, and there are a few major errors; but please comment your opinion:.

5:24

Horn Concerto in Eb in the style of Mozart (Original composition by M.Whitehouse)

Horn Concerto in Eb in the style of Mozart (Original composition by M.Whitehouse)

Horn Concerto in Eb in the style of Mozart (Original composition by M.Whitehouse)

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i believe i have come very close to perfecting the art of 18th century style and technique. please comment, share, like and subscribe to my channel. i have plenty more compositions to upload due to the fact ive only recently been able to upload scores to YouTube.

Mozart - Die Hochzeit Des Firago - Act IVe

The marriage of Figaro, K. 492Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is a comic opera in four acts composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro. The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor, Joseph II, before any music was written by Mozart.
Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

2:51

Flanders and Swann - Ill Wind - Mozart Horn Concerto

Flanders and Swann - Ill Wind - Mozart Horn Concerto

Flanders and Swann - Ill Wind - Mozart Horn Concerto

4:41

Pachelbel Canon in D Major - the original and best version

Pachelbel Canon in D Major - the original and best version

Pachelbel Canon in D Major - the original and best version

Hey everyone~! Please consider a donation,
and we will make more videos like this one :) https://support.google.com/youtube/?p=donate_FAQ
Pachelbel's Canon--the original version based on the earliest original manuscript and performed on instruments from the time of Pachelbel--listen to the authentic baroque sound!
Voices of MusicFAQ
Q. How can I support Voices of Music?
A. Donate here: https://voicesofmusic.org/donate.html and we will make more
videos like this one :) These videos cost thousands of dollars to make, and the money comes from individual donors.
Q. Where can I learn more about this music?
A. You can visit our website, https://www.voicesofmusic.org/ Also, subscribe to our video channel! Just click on the logo on our videos.
Q. Where can we hear you play in concert?
A. We perform in the San Francisco Bay Area. For a concert schedule, visit our website or join our mailing list https://www.voicesofmusic.org/
Q. Where can I buy CDs?
A. Our CDs are available on iTunes, Google, Amazon, CD Baby and just about everywhere; you can also buy a CD in a jewel case from Kunaki: https://www.voicesofmusic.org/cds.html
Q. What isEarly Music performance, or historical performance?
A. We play on instruments from the time of the composers, and we use the original music and playing techniques: it’s a special sound.
Q. Why are there no conductors?
A. Conductors weren’t invented until the 19th century; since we seek to recreate a historical performance, the music is led from the keyboard or violin, or the music is played as chamber music~or both :)
Q. What are period instruments or original instruments; how are they different from modern instruments?
A. As instruments became modernized in the 19th century, builders and players tended to focus on the volume of sound and the stability of tuning. Modern steel strings replaced the older materials, and instruments were often machine made. Historical instruments, built individually by hand and with overall lighter construction, have extremely complex overtones—which we find delightful. Modern instruments are of course perfectly suited to more modern music.
Q. Why is the pitch lower, or higher?
A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See https://goo.gl/pVBNAC
Soundtrack at
http://tinyurl.com/PachelbelVideo
Performed on original instruments by San Francisco Early Music Ensemble Voices of Music. FeaturingKatherineKyme, CarlaMoore & Cynthia Freivogel, baroque violin; Tanya Tomkins, baroque cello, Hanneke van Proosdij, baroque organ; David Tayler, theorbo.
About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century. The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the "Voices of Music."
Many comments refer to the pitch. D Major is a key, not a pitch; this piece is in D Major at A=415.3 Hz. We chose a baroque pitch and temperament from the time of Pachelbel. You can see the original manuscript that we played from here, clearly in the key of D Major with two sharps http://voicesofmusic.org/images/PachelbelKey.jpgDetail of the interior of the baroque organ: http://www.flickr.com/photos/voicesofmusic/9859398076
#Pachelbel #CanoninD
Title: Canon in DComposer: Johann PachelbelGenre: Classical

Mischa Maisky plays Bach Cello Suite No.1 in G (full)

Vanessa Mae Storm (Vivaldi Techno)

un clasico de vivaldi en un cover de vanessa mae . violinista

published: 09 Jul 2010

MOZART - LE NOZZE DI FIGARO 1786 with double subs It-Eng

0:13:46 - “Se vuol ballare, signor contino, il chitarrino le suonerò”: It’s difficult to render into English the pun of the initial verses of this Cavatina: in Italian, the verb “suonare” (to play) can mean also “to beat somebody” (for example in the idiomatic expression “suonarle a qualcuno” , something like “to give someone a beating”). Besides, the word “chitarrino” (literally “little guitar”), it’s one of the ancient popular ways to say (and not to say)... the rear end. It follows that Figaro would gladly make the Count dance (or even caper) kicking his arse! At least a symbolic revenge of that “sacrilegious kick” Mozart had received up his backside from Count Arco, chief steward of the Archbishop of Salzburg, five years before, when he asked to took leave of his angry employer.
L...

published: 28 Oct 2014

Rondo Alla Turca piano (Turkish March) Mozart- fast version

ive changed this piece from mozart's original. ive only cut it, and there are a few major errors; but please comment your opinion:.

published: 08 Jul 2011

Horn Concerto in Eb in the style of Mozart (Original composition by M.Whitehouse)

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i believe i have come very close to perfecting the art of 18th century style and technique. please comment, share, like and subscribe to my channel. i have plenty more compositions to upload due to the fact ive only recently been able to upload scores to YouTube.

Flanders and Swann - Ill Wind - Mozart Horn Concerto

published: 23 Jan 2010

Pachelbel Canon in D Major - the original and best version

Hey everyone~! Please consider a donation,
and we will make more videos like this one :) https://support.google.com/youtube/?p=donate_FAQ
Pachelbel's Canon--the original version based on the earliest original manuscript and performed on instruments from the time of Pachelbel--listen to the authentic baroque sound!
Voices of MusicFAQ
Q. How can I support Voices of Music?
A. Donate here: https://voicesofmusic.org/donate.html and we will make more
videos like this one :) These videos cost thousands of dollars to make, and the money comes from individual donors.
Q. Where can I learn more about this music?
A. You can visit our website, https://www.voicesofmusic.org/ Also, subscribe to our video channel! Just click on the logo on our videos.
Q. Where can we hear you play in concert?
A. We per...

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Horn Concerto in Eb in the style of Mozart (Original composition by M.Whitehouse)

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i ...

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i believe i have come very close to perfecting the art of 18th century style and technique. please comment, share, like and subscribe to my channel. i have plenty more compositions to upload due to the fact ive only recently been able to upload scores to YouTube.

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i believe i have come very close to perfecting the art of 18th century style and technique. please comment, share, like and subscribe to my channel. i have plenty more compositions to upload due to the fact ive only recently been able to upload scores to YouTube.

The marriage of Figaro, K. 492Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is a comic opera in four acts composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro. The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor, Joseph II, before any music was written by Mozart.
Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

The marriage of Figaro, K. 492Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is a comic opera in four acts composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro. The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor, Joseph II, before any music was written by Mozart.
Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

Pachelbel Canon in D Major - the original and best version

Hey everyone~! Please consider a donation,
and we will make more videos like this one :) https://support.google.com/youtube/?p=donate_FAQ
Pachelbel's Canon--th...

Hey everyone~! Please consider a donation,
and we will make more videos like this one :) https://support.google.com/youtube/?p=donate_FAQ
Pachelbel's Canon--the original version based on the earliest original manuscript and performed on instruments from the time of Pachelbel--listen to the authentic baroque sound!
Voices of MusicFAQ
Q. How can I support Voices of Music?
A. Donate here: https://voicesofmusic.org/donate.html and we will make more
videos like this one :) These videos cost thousands of dollars to make, and the money comes from individual donors.
Q. Where can I learn more about this music?
A. You can visit our website, https://www.voicesofmusic.org/ Also, subscribe to our video channel! Just click on the logo on our videos.
Q. Where can we hear you play in concert?
A. We perform in the San Francisco Bay Area. For a concert schedule, visit our website or join our mailing list https://www.voicesofmusic.org/
Q. Where can I buy CDs?
A. Our CDs are available on iTunes, Google, Amazon, CD Baby and just about everywhere; you can also buy a CD in a jewel case from Kunaki: https://www.voicesofmusic.org/cds.html
Q. What isEarly Music performance, or historical performance?
A. We play on instruments from the time of the composers, and we use the original music and playing techniques: it’s a special sound.
Q. Why are there no conductors?
A. Conductors weren’t invented until the 19th century; since we seek to recreate a historical performance, the music is led from the keyboard or violin, or the music is played as chamber music~or both :)
Q. What are period instruments or original instruments; how are they different from modern instruments?
A. As instruments became modernized in the 19th century, builders and players tended to focus on the volume of sound and the stability of tuning. Modern steel strings replaced the older materials, and instruments were often machine made. Historical instruments, built individually by hand and with overall lighter construction, have extremely complex overtones—which we find delightful. Modern instruments are of course perfectly suited to more modern music.
Q. Why is the pitch lower, or higher?
A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See https://goo.gl/pVBNAC
Soundtrack at
http://tinyurl.com/PachelbelVideo
Performed on original instruments by San Francisco Early Music Ensemble Voices of Music. FeaturingKatherineKyme, CarlaMoore & Cynthia Freivogel, baroque violin; Tanya Tomkins, baroque cello, Hanneke van Proosdij, baroque organ; David Tayler, theorbo.
About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century. The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the "Voices of Music."
Many comments refer to the pitch. D Major is a key, not a pitch; this piece is in D Major at A=415.3 Hz. We chose a baroque pitch and temperament from the time of Pachelbel. You can see the original manuscript that we played from here, clearly in the key of D Major with two sharps http://voicesofmusic.org/images/PachelbelKey.jpgDetail of the interior of the baroque organ: http://www.flickr.com/photos/voicesofmusic/9859398076
#Pachelbel #CanoninD
Title: Canon in DComposer: Johann PachelbelGenre: Classical

Hey everyone~! Please consider a donation,
and we will make more videos like this one :) https://support.google.com/youtube/?p=donate_FAQ
Pachelbel's Canon--the original version based on the earliest original manuscript and performed on instruments from the time of Pachelbel--listen to the authentic baroque sound!
Voices of MusicFAQ
Q. How can I support Voices of Music?
A. Donate here: https://voicesofmusic.org/donate.html and we will make more
videos like this one :) These videos cost thousands of dollars to make, and the money comes from individual donors.
Q. Where can I learn more about this music?
A. You can visit our website, https://www.voicesofmusic.org/ Also, subscribe to our video channel! Just click on the logo on our videos.
Q. Where can we hear you play in concert?
A. We perform in the San Francisco Bay Area. For a concert schedule, visit our website or join our mailing list https://www.voicesofmusic.org/
Q. Where can I buy CDs?
A. Our CDs are available on iTunes, Google, Amazon, CD Baby and just about everywhere; you can also buy a CD in a jewel case from Kunaki: https://www.voicesofmusic.org/cds.html
Q. What isEarly Music performance, or historical performance?
A. We play on instruments from the time of the composers, and we use the original music and playing techniques: it’s a special sound.
Q. Why are there no conductors?
A. Conductors weren’t invented until the 19th century; since we seek to recreate a historical performance, the music is led from the keyboard or violin, or the music is played as chamber music~or both :)
Q. What are period instruments or original instruments; how are they different from modern instruments?
A. As instruments became modernized in the 19th century, builders and players tended to focus on the volume of sound and the stability of tuning. Modern steel strings replaced the older materials, and instruments were often machine made. Historical instruments, built individually by hand and with overall lighter construction, have extremely complex overtones—which we find delightful. Modern instruments are of course perfectly suited to more modern music.
Q. Why is the pitch lower, or higher?
A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See https://goo.gl/pVBNAC
Soundtrack at
http://tinyurl.com/PachelbelVideo
Performed on original instruments by San Francisco Early Music Ensemble Voices of Music. FeaturingKatherineKyme, CarlaMoore & Cynthia Freivogel, baroque violin; Tanya Tomkins, baroque cello, Hanneke van Proosdij, baroque organ; David Tayler, theorbo.
About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century. The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the "Voices of Music."
Many comments refer to the pitch. D Major is a key, not a pitch; this piece is in D Major at A=415.3 Hz. We chose a baroque pitch and temperament from the time of Pachelbel. You can see the original manuscript that we played from here, clearly in the key of D Major with two sharps http://voicesofmusic.org/images/PachelbelKey.jpgDetail of the interior of the baroque organ: http://www.flickr.com/photos/voicesofmusic/9859398076
#Pachelbel #CanoninD
Title: Canon in DComposer: Johann PachelbelGenre: Classical

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Horn Concerto in Eb in the style of Mozart (Original composition by M.Whitehouse)

I am an 17 year old composer/musician from the west-midlands. I have been composing in the classical style or (in the style of Mozart) for about 4 years now, i believe i have come very close to perfecting the art of 18th century style and technique. please comment, share, like and subscribe to my channel. i have plenty more compositions to upload due to the fact ive only recently been able to upload scores to YouTube.

Mozart - Die Hochzeit Des Firago - Act IVe

The marriage of Figaro, K. 492Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is a comic opera in four acts composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro. The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor, Joseph II, before any music was written by Mozart.
Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

Pachelbel Canon in D Major - the original and best version

Hey everyone~! Please consider a donation,
and we will make more videos like this one :) https://support.google.com/youtube/?p=donate_FAQ
Pachelbel's Canon--the original version based on the earliest original manuscript and performed on instruments from the time of Pachelbel--listen to the authentic baroque sound!
Voices of MusicFAQ
Q. How can I support Voices of Music?
A. Donate here: https://voicesofmusic.org/donate.html and we will make more
videos like this one :) These videos cost thousands of dollars to make, and the money comes from individual donors.
Q. Where can I learn more about this music?
A. You can visit our website, https://www.voicesofmusic.org/ Also, subscribe to our video channel! Just click on the logo on our videos.
Q. Where can we hear you play in concert?
A. We perform in the San Francisco Bay Area. For a concert schedule, visit our website or join our mailing list https://www.voicesofmusic.org/
Q. Where can I buy CDs?
A. Our CDs are available on iTunes, Google, Amazon, CD Baby and just about everywhere; you can also buy a CD in a jewel case from Kunaki: https://www.voicesofmusic.org/cds.html
Q. What isEarly Music performance, or historical performance?
A. We play on instruments from the time of the composers, and we use the original music and playing techniques: it’s a special sound.
Q. Why are there no conductors?
A. Conductors weren’t invented until the 19th century; since we seek to recreate a historical performance, the music is led from the keyboard or violin, or the music is played as chamber music~or both :)
Q. What are period instruments or original instruments; how are they different from modern instruments?
A. As instruments became modernized in the 19th century, builders and players tended to focus on the volume of sound and the stability of tuning. Modern steel strings replaced the older materials, and instruments were often machine made. Historical instruments, built individually by hand and with overall lighter construction, have extremely complex overtones—which we find delightful. Modern instruments are of course perfectly suited to more modern music.
Q. Why is the pitch lower, or higher?
A. Early Music performance uses many different pitches, and these pitches create different tone colors on the instruments. See https://goo.gl/pVBNAC
Soundtrack at
http://tinyurl.com/PachelbelVideo
Performed on original instruments by San Francisco Early Music Ensemble Voices of Music. FeaturingKatherineKyme, CarlaMoore & Cynthia Freivogel, baroque violin; Tanya Tomkins, baroque cello, Hanneke van Proosdij, baroque organ; David Tayler, theorbo.
About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century. The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the "Voices of Music."
Many comments refer to the pitch. D Major is a key, not a pitch; this piece is in D Major at A=415.3 Hz. We chose a baroque pitch and temperament from the time of Pachelbel. You can see the original manuscript that we played from here, clearly in the key of D Major with two sharps http://voicesofmusic.org/images/PachelbelKey.jpgDetail of the interior of the baroque organ: http://www.flickr.com/photos/voicesofmusic/9859398076
#Pachelbel #CanoninD
Title: Canon in DComposer: Johann PachelbelGenre: Classical